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Calling all MONSTIEZs in Malaysia! K-Pop sensations BABYMONSTER (베이비몬스터) recently announced the Asia and Oceania dates of their upcoming world tour, confirming that they’re returning to Kuala Lumpur this November!
Earlier today (Monday, 11th May 2026), BABYMONSTER dropped dates for the Asia and Oceania leg of their “춤 (CHOOM)” world tour. The girl group, affectionately known as BaeMon (베몬), will perform in eleven cities across the region, including Manila, Jakarta, Bangkok and Kuala Lumpur. Their show in KL will take place on 14th November 2026 (Saturday) at Unifi Arena (formerly Axiata Arena).
SOURCE: TWITTER (@YGBABYMONSTER_)
Live Nation Malaysia will share more details about the concert on a later date. This upcoming concert marks BABYMONSTER’s return to KL after their last concert in June 2025. The “춤 (CHOOM)” world tour is in support of the group’s latest mini album of the same name, which was released last week, on 4th May 2026 (Monday). The tour will also include stops in Europe, North America and South America. Here’s what we know about the concert so far:
BABYMONSTER “춤 (CHOOM)” World Tour in Kuala Lumpur
Stay tuned to Live Nation Malaysia’s official social media for more information on the concert. Are you excited for BABYMONSTER’s return to KL? In the meantime, check out the music video for their latest comeback, “춤 (CHOOM)”:
Ludi Lin is navigating the “Mortal Kombat 2” press junket with a black eye.
This is no cinematic artifice. The actor exudes a spirited, almost defiant confidence, clearly relishing the moment regardless of his physical state. It has been five years since our last encounter, but as we reconnected with him via Zoom during his stay at the Pan Pacific Orchard in Singapore, it was clear that the quintessence of Ludi Lin remains unchanged.
When we spoke to him, he had just been in the centrifugal force of a global tour for “Mortal Kombat 2”, which just released in Malaysian cinemas on the 7th of May, spiraling through Los Angeles and Jakarta in a matter of days. Yet, there’s a nonchalance about the bruise. He reveals the mark was earned during a sparring session just before the promotional machine reached full velocity. The timing, he concedes, was perhaps less than surgical, yet the injury is a secondary concern.
Credit: George Lawson Photography
“That’s real and that’s fun,” he says. There’s something about the way he treats this that makes him a total badass.
For audiences who have tracked Lin’s trajectory from the “Power Rangers” revival and “Aquaman” to the visceral carnage of the “Mortal Kombat” mythos, this temperament is entirely consistent. Over the past decade, the Chinese-Canadian actor has meticulously cultivated a career defined by rigorous physical demands, expertly oscillating between blockbuster bombast and a contemplative philosophy regarding art and purpose.
Now, half a decade after the first “Mortal Kombat” reboot emerged amidst the sterile uncertainty of a pandemic, Lin returns to the fray as Liu Kang. And now, he’s seasoned, battle-scarred, and imbued with an emotional gravity that far outweighs his previous iterations.
The journey toward the realization of “Mortal Kombat 2” has been a saga of endurance.
The genesis of the first installment was forged amidst the sterile isolation of a global pandemic, where visceral combat choreography was stifled by clinical protocols. Subsequent industry-wide labor disputes and fluctuating production schedules further threatened to stall the sequel’s momentum, casting the project into a liminal space not unlike the very realms the fighters inhabit.
Yet now, half a decade after the reboot first ignited the cultural zeitgeist, the ensemble has finally secured the one element that eluded them during their inaugural outing: authentic, unmediated connection.
“It feels awesome. It’s unimaginable how good it feels,” Lin says. “To be able to do this in person… to be able to have the premieres in person, to be able to do press in person with my castmates and actually physically touch each other, it’s great.”
There is a palpable gravity when he emphasizes the tactile nature of this reunion. It serves as a testament to a rapport deeply ingrained by weathering a singular epoch of history in tandem.
“We’re such a close family,” Lin reflects. “Not only on screen when we’re fighting and grabbing each other… and doing fatalities, but off screen too. As much as we fight on screen, we try to care for and love each other off screen.”
New Faces, Same Energy
The burgeoning roster of Mortal Kombat 2 necessitated a grand expansion of the ‘Choose Your Fighter’ pantheon, ushering in formidable presences like Karl Urban and Adeline Rudolph. Yet, according to Lin, this influx of established titans never threatened the production’s hard-won equilibrium; if anything, it solidified it.
Lin initially pivots to a dry, deadpan wit when asked about the newcomers. “Oh yeah, we don’t like them at all,” he quips. “We don’t hang out. We call them newbies. Or noobs.” But the jest is a playful mask for a profound camaraderie. “In fact, it felt like the first movie was us building a little nest for the rest of the family to migrate into the Mortal Kombat universe.”
That spirit of radical hospitality became the sequel’s defining ethos. Despite the escalating scale of the production, the atmosphere remained remarkably democratic, untouched by the ego-driven stratification that often plagues high-stakes filmmaking. “Sometimes there’s a hierarchy on film sets—the big stars and the newcomers,” Lin observes. “But it didn’t feel like that at all.”
“Everything felt like a round table. It felt like friends hanging out.”
This sense of communal intimacy transformed the blockbuster experience into something deeply personal. “Watching the movie honestly felt like when you’re kids making home videos with your camcorder,” he says. “That’s what the premieres have felt like. We made this little movie, and now we get to watch it together while sharing it with the rest of the world.”
The Fire Beneath Liu Kang
In “Mortal Kombat 2”, Lin’s Liu Kang returns burdened by a weight far heavier than the defense of Earthrealm. While the first installment centered on discovery, the sequel propels the character into a darker psychological landscape shaped by profound grief and unresolved loss.
At the heart of this emotional rupture is the death of Kung Lao, Liu Kang’s brother-in-arms. For Lin, this tragedy transcends the loss of a tactical ally; it represents the erasure of a foundational part of Liu Kang’s identity.
“You could see that he lost his brother,” Lin notes. “The person closest to him. They grew up together, trained together, and complemented each other. They were partners, and he lost him.”
Lin approaches this mourning with a quiet gravity, ensuring that the character’s pain resonates beneath the film’s trademark brutality. “For anyone who knows that kind of grief, it’s a very heavy place,” he says. “So definitely, he has a lot of grief inside him at the start of the second movie. A lot of fury, anger, and complex emotions.”
The Invisible Architects Of Action
Within the visceral, bone-shattering landscape of Mortal Kombat, Lin has cultivated a profound reverence for one of cinema’s most overlooked pillars: the stunt department. He is swift to deconstruct the “polished fallacy” of the omnicompetent movie star. It’s the industry myth that a single individual can master dramatic nuance, acrobatics, and precision combat simultaneously.
To Lin, these teams are the architects of a production’s kinetic vocabulary. Months before the first frame is captured, they are meticulously engineering the “previs”, which is the high-fidelity action blueprints that dictate everything from combat styles to camera placement. “They build the entire framework of the action before we ever step onto set,” Lin reveals.
Even with his own extensive martial pedigree, Lin remains tethered to this essential collaboration. While he cites co-star Max Huang as a rare physical phenomenon, he remains adamant that specialized expertise is irreplaceable. “You can’t expect actors to spend their lives mastering dramatic arts while also somehow being able to pull off a double backflip 540,” he says with a laugh. “That takes a lifetime of training.”
He recalls the sheer exhilaration of performing a canyon leap on the set of “Power Rangers” as a career highlight: “We got to do it ourselves… it was so much fun.” Yet, he insists such moments of individual triumph are only possible because of a human foundation. “As actors, we add emotion and soul to the fights, but the stunt team lays the groundwork. It’s truly collaborative art.”
This perspective makes the Academy’s recent decision to formally recognize stunt design particularly poignant. For Lin, it is more than a salute to the perils of the trade; it is the official canonization of a creative discipline that has, until now, shaped the evolution of modern spectacle from the shadows.
Art Without Shortcuts
For Lin, the art of the stunt is a visceral manifestation of effort. It is the very marrow of cinematic meaning. This reverence for tangible labor fuels his ambivalence toward the burgeoning influence of artificial intelligence. While he acknowledges AI as an inescapable fixture of modern workflows, he remains wary of the “temptation of convenience” over the sanctity of the struggle.
“It’s hard because AI is very tempting to embrace,” he notes, comparing the technology to digital shortcuts. “AI feels like using cheat codes in a video game. It’s tempting because it makes everything easier, but once you use it, that’s kind of the end of the game. You can’t go back.”
Source: Renit Fashionista, Ludi Lin Captured by Renit Fashionista
In Lin’s philosophy, art is not defined by the polished aesthetic of the final frame, but by the “irrefutable reality” of the process—the repetition and discovery that audiences sense instinctively beneath a performance. “A lot of art isn’t about the final product,” he insists. “It’s about the process.”
Invoking Christopher Nolan’s The Prestige, Lin suggests that the allure of cinema, much like magic, resides in the tension between the impossible feat and the mechanical grit required to manifest it. “What I love about magic is that everything feels impossible,” he says. “But behind it are real people building contraptions and figuring things out step by step.”
Ultimately, Lin fears that by bypassing this human industry in favor of binary algorithms, we risk a spiritual dead end. “With AI,” he concludes, “you lose the journey, and eventually you lose the emotional connection and the fun.”
Half a decade ago, Lin famously remarked that Asians were the late arrivals to the Hollywood gala—a demographic that, having been denied an invitation for so long, had no choice but to “party loud” upon arrival. Today, his assessment of the industry’s progress is more nuanced, characterized by a keen awareness of the systemic rhythms that govern Tinseltown.
“In every struggle, there’s progress, then backlash,” he observes. “It swings like a pendulum.”
Lin acknowledges the undeniable cultural seismic shifts of recent years. There’s the historic ascent of Bong Joon Ho’s “Parasite”, the quiet intimacy of “Minari”, and the maximalist triumph of “Everything Everywhere All at Once”. Yet, he remains wary of a recurring phenomenon: a glass ceiling that seems to permit only a solitary Asian success story to occupy the cultural zeitgeist at any given time.
“It also feels like we’re only allowed one at a time,” he notes, highlighting the industry’s tendency toward singular “exceptions” rather than sustained inclusion.
“I grew up feeling left out of the party. So now whenever I’m at a Hollywood afterparty, I’m always trying to sneak my friends in too.”
This is precisely why a franchise like “Mortal Kombat” serves as a vital counter-narrative for him. In a cinematic landscape often criticized for its “tokenism,” the Mortal Kombat universe operates as a genuine meritocracy of diversity. After all, it’s a sprawling ensemble featuring prominent Asian stars like Lewis Tan, Joe Taslim, Tadanobu Asano, Adeline Rudolph, Max Huang, Tati Gabrielle, etc. . Well, it’s a long list, and that’s a testament to “Mortal Kombat’s” drive for representation.
“It’s not just one token Asian character,” Lin insists. “None of us feel tokenized. None of us feel left out.”
For Lin, the ultimate goal of representation has shifted from mere visibility to a radical form of communal responsibility. He is no longer interested in simply being the man in the room; he is focused on who he can bring through the door behind him and dismantling the “Hunger Games” architecture that’s currently in place… as he puts it.
Of Puppies And Purpose
Beneath the veneer of martial arts prowess lies a man profoundly devoted to the animal kingdom. What began as a simple quest for companionship three years ago has blossomed into a transformative odyssey; Lin has since fostered six puppies and currently shares his life with a six-month-old companion, Pax.
“I was always a cat person growing up,” he notes. “Then I got my first dog… I feel like I’ve got a real connection with them.”
Lin is quick to dismantle the sanitized, social-media version of pet ownership, leaning instead into the unvarnished and often messy realities of the experience. To him, the burden of care is not a weight, but the very crucible of significance. “Every day you wake up with a purpose,” he says. “A lot of that isn’t pleasant, but it’s meaningful.”
Initially, he describes this dynamic as entirely asymmetrical. it’s a one-way street of caretaking for a creature devoid of “dog software.” However, through consistent investment, a profound inversion occurs. “Eventually the roles reverse,” Lin explains. “My dog starts showing me things… It’s a wonderful give-and-take relationship, and I think it applies to other parts of life too.”
This ethos of reciprocity radiates into Lin’s professional calling, linking domestic duty to the complexities of cultural representation and his debt to a global fanbase. For Lin, the “giving back” is a non-negotiable extension of his journey. “I feel that with acting, with representing my culture properly, and with Mortal Kombat fans,” he insists. “They’re the people who made this possible… it took a lot to get here, and I need to give that back.”
Exhausting Life to The Fullest
Source: Muckers Studio, Ludi Lin Captured by Muckers Studio
“We’re all going to die someday, right?” Lin notes when asked about his discipline. Yet, it’s not with morbid dread, but rather with a certain serenity.
For Lin, the inevitability of the end is an argument for immersion rather than avoidance.
“I’d rather run toward it as fast as I can. Exhaust myself. Experience things fully.”
This philosophy acts as the connective tissue of his life, whether he is absorbing the physical toll of stunt training, navigating the chaos of fostering puppies, or exploring the emotional shadows of Liu Kang. In his worldview, exhaustion is not a symptom of fatigue, but the ultimate metric of a life lived with intentionality.
“It’s like running a marathon,” he suggests. “When people finish, they’re completely exhausted, but they’re also incredibly happy because they know they truly did something meaningful. That’s how I want to feel at the end of my life.”
This hunger for the arduous explains his penchant for seeking out the unfamiliar. He admits to intentionally pursuing disciplines where he lacks mastery, circling back to the bruise currently adorning his face with a grin. “I’m doing press with a black eye because I went sparring right before these premieres. I like finding things I suck at.”
This radical openness extends to his emotional landscape. Unlike peers who retreat from the digital fray, Lin refuses to insulate himself behind a celebrity facade. He aims to be a “permeable membrane,” remaining receptive to the world even at the risk of discomfort. “If something hurts, so be it,” he says. “At least I know I still have feelings.”
Credit: George Lawson Photography
As he looks toward the horizon, this desire for the unpredictable is recalibrating his career trajectory. While he retains a deep-seated love for the franchises of his youth, he is increasingly drawn to original narratives and roles that defy his own self-perception.
“I’d love for a writer or director to surprise me,” Lin concludes. “Ideally, someone would approach me with a role where they see something in me that I don’t even see myself… Something that genuinely challenges me.”
It is a rare thing in Hollywood to find an actor so comfortable with his own edges such as the physical bruises, the emotional vulnerabilities, and the looming unknowns. Yet, as our conversation winds down, Ludi Lin remains entirely optimisitic by the chaos of the journey ahead. He offers one final, reassuring smile, sounding every bit like a man who has already mastered the art of the fall.
“Don’t worry,” he says. “Everything’s going to be fine.”
Get over here and watch the “Mortal Kombat 2” trailer starring Ludi Lin here:
“Mortal Kombat 2” is currently playing in cinemas nationwide.
Mother’s Day is just around the corner and it often follows a familiar formula: flowers, a cake you remembered just in time, a hotel buffet that feels more convenient than considered. It works but not every Mother’s Day needs to be a splurge. Sometimes it’s about finding a place that feels easy, comforting and a little special.
This year skip the default, take your mum somewhere that actually reflects her taste, her pace or just gives you both something to talk about after. From elevated local classics to experience-led dining and quietly beautiful brunch spots, these KL restaurants offer a more international way to celebrate.
For The Mum Who Loves Tradition Bijan Bar & Restaurant
A long-standing favourite for a reason, “Bijan” does Malaysian food with restraint and respect. The menu leans into heritage, rich rendang, delicate ulam, but everything is refined just enough to feel occasion-worthy.
Reservations: Recommended. Book via phone (016-552 6777) or walk in (subject to availability).
For The Mum Who Loves Something Cosy But Considered Yellow Brick Road
A neighbourhood favourite that’s built its reputation on consistency. Think brunch staples, comfort food, and a space that feels familiar in the best way.
It’s easy, reliable, and still feels like a treat, especially for a relaxed, low-pressure celebration.
Key dishes: Foie Gras, Dry-Aged Duck, Degustation Menu
Price range: ~RM288–RM450 per person
Reservations: Recommended. Book via phone (03-2268 3819) or their website.
There’s nothing wrong with a buffet, or a card and flowers, but it’s not the only way to do Mother’s Day. The best celebrations tend to feel intentional, where the setting reflects the person you’re celebrating.
Because at the end of the day, it’s not just about where you go; it’s about choosing somewhere that feels like her.
Looking for a place to wine, dine and have fun this month? From sun-drenched aperitivo hours to late-night DJ sets above the city skyline, Kimpton Naluria Kuala Lumpur’s May 2026 calendar is packed with reasons to gather, celebrate and linger. Here’s what’s on at the hotel’s restaurants and bar this month:
Sabato’s
SOURCES: KIMPTON NALURIA
Sabato’s, the only retro-inspired Italian-American restaurant in Malaysia, continues to bring the spirit of 1970s New York to the heart of Kuala Lumpur. Perched on Level 25 with sweeping city views, the Red Sauce Joint beckons with bold flavours, communal platters and a jukebox soul – and this May, it adds a full calendar of reasons to return.
Festa della Mamma (RM250 nett per person)
On 9th May 2026, celebrate Mother’s Day the Italian way. Sabato’s presents a special sharing set menu for lunch (12pm to 3pm), with every guest automatically enrolled in a hands-on cannoli-making workshop guided by the chef. A dedicated workshop trolley is stationed within the dining area, where each guest will prepare one serving of cannoli as part of the experience. The set menu also includes Tiramisu, a complimentary mini Knickerbocker Glory, flowers for Mum, and a Polaroid memory to take home. Song dedications round out the evening.
Sabato’s Social Club – Bellini (RM130 nett per person)
A sparkling introduction to Sabato’s Social Club, where Aperitivo hour brings a touch of Italian-American soul to the city skyline. Running daily from 1st to 30th May 2026, from 6pm to 7pm, the Bellini aperitivo experience invites guests to settle in before dinner service begins. Anchored by a three-drink format, guests have the option to choose from the Original Bellini, Bellini Spritz, or Peach Sbagliatto Bellini – paired with one round of aperitivo bites, including Fried Calamari or Mozzarella Sticks. The evening closes with a “Golden Close” ritual, where a selected guest draws the curtains to mark the transition from aperitivo to dining.
Operating hours: Monday to Friday (6pm to 10:30pm), Saturday (12pm to 3pm, 6pm to 10:30pm)
Malaysia’s first and only spice-themed rooftop bar and lounge in TRX is turning up the dial in May with a landmark guest shift, weekly DJ sessions and daily Golden Hour deals that are worth the trip up.
Seoul, After Dark (RM58 nett per cocktail)
On 19th May 2026, Four Siblings hosts Bar Cham – one of Asia’s 50 Best Bars for an exclusive one-night-only guest shift. Bar Cham co-owner and bartender, Hwi, brings a refined selection of cocktails inspired by Korean heritage and modern craft.
Sky High Sessions (Every Friday and Saturday, 8pm to 12am)
Get into the groove with the vibrant May Sky High Sessions, where mixology meets music. Anticipate DJ sets, drinks in hand, and views that take your night higher, every Friday and Saturday from 8pm to 12am.
Line-up:
1st, 8th, 15th, 22nd May (Friday): DJ Tenaga
2nd, 16th May (Saturday): DJ Vikna
29th May (Friday): Lucky Beanie Duo
9th, 23rd May (Saturday): DJ Quebac
Golden Hour (Daily, 7:30pm to 9pm)
Wind down each evening with a cocktail, wine or beer at RM31 nett per drink, the Groovy Glide Package (unlimited highballs) at RM121 nett per person, or the Snack Attack platter – Fresh Tuna Tostada, Nachos and Malaysian Chicken Satay at RM57 nett.
Poolside Pairings RM110 nett per set
Pair your poolside hour with Set 1 – Kirin Matsuri (3 Kirin Beers and Tacos Pollo Pastor) or Set 2 – Pretty Crunchy (3 Lillet-Infused Cinnamon Tonic and Nachos).
The hotel’s farm-to-table all-day dining venue continues to serve up its locally-loved Power Lunch Semi-Buffet throughout May – the ideal midday pause.
Power Lunch Semi-Buffet (RM88 nett per person)
Available Monday to Friday from 12pm to 3pm, the semi-buffet invites guests to choose from three rotating daily mains and enjoy an all-you-can-eat spread of appetisers, a soup of the day and desserts.
Operating hours: Breakfast (Daily from 6:30am to 10:30am), Lunch (Daily from 12pm to 3pm), Dinner (Daily from 6pm to 10pm)
Kickstart your mornings at Rise & Grind, the hotel’s ground-floor grab-n-go espresso bar where speciality beans meet the warmth of Malaysian kopitiam spirit. Whether you’re a busy professional on the move or a leisurely guest easing into the day, Rise & Grind is your daily ritual – crafted with care, served with soul.
A Brew-tiful Start (RM19 nett)
Available daily from 7am to 5pm, the perfect morning pairing brings together one rich, aromatic coffee and one English Breakfast Sandwich.
Golden Brew – Peanut Butter Cold Brew (RM20 nett)
Give your cold brew a nutty twist. Rise & Grind’s Golden Brew pairs the bold depth of cold brew coffee with the rich, creamy indulgence of peanut butter – a smooth, satisfying sip to power you through the day.
Berry Bloom (RM18 nett)
A treat for the eyes as much as the palate. Choose from the Raspberry Vanilla Swiss Roll or the Citrus Chamomile Coconut Swiss Roll – delicate, flavour-forward pastries that make every tea break worth pausing for.
Morning Power Ups
Fuel your morning with Rise & Grind’s hearty sandwich lineup. The classic English Breakfast Sandwich (RM16 nett) keeps things familiar, while the Pulled Beef Egg Sandwich (RM20 nett) brings a bolder, heartier start to the day.
Drawing deeply from Malaysia’s vibrant heritage, the hotel presents a dazzling array of generous splendour of modern Malaysian cuisine that elevates local ingredients and traditional flavours. This exceptional fusion of flavours and experiences distinguishes the hotel as a beacon of culinary delight and a dining destination that captures the very heart and soul of Kuala Lumpur’s dynamic culinary landscape.
For reservations and more information, visit the hotel’s website here or follow the hotel’s Instagram, Facebook or LinkedIn. IHG One Rewards members can also enjoy dining discounts via their IHG One Rewards Dining Privileges. Not a member yet? Download the IHG One Rewards mobile app.
Encik Tan, a Singaporean Halal-certified hawker fare concept under Fei Siong Group, officially makes its Malaysia debut with its first outlet (Lot G17) at Sultan Abdul Aziz Shah Airport (Subang SkyPark). Marking a new phase of regional growth, the brand expands beyond its footprint of 21 outlets in Singapore and one in Jakarta, entering Malaysia with a concept centred on accessible Halal Chinese hawker dining.
With the Malaysia outlet currently in the process of obtaining Halal certification in accordance with Jabatan Kemajuan Islam Malaysia (JAKIM) requirements, the menu is prepared using Halal-certified ingredients. This ensures that diners can enjoy a range of familiar, comfort-driven dishes with greater confidence, particularly among Muslim consumers seeking accessible everyday meal options.
Serving as the brand’s first point of arrival in Malaysia, the outlet spans approximately 1,800 square feet and is designed to accommodate up to 50 seated diners. The space features a warm, contemporary interior with an efficient counter flow, combining banquette seating, armchairs and tables to support both quick meals and casual dine-ins. Anchored by a bold orange-and-white palette, the outlet is complemented by a backlit brand mural and open ordering counter, reinforcing Encik Tan’s identity as a modern, accessible take on local hawker food. The outlet operates daily from 6.30am to 10.30pm, catering to travellers, airport staff and the surrounding Subang community.
A Strategic Entry Point
The Subang SkyPark location places the brand within a high-traffic environment that captures both transit and everyday dining occasions, with a steady mix of travellers, airport staff and nearby communities. This strategic entry point also allows Encik Tan to test and refine its offering in a setting that mirrors its core proposition – accessible, convenient hawker food for daily consumption.
Encik Tan’s expansion into Malaysia is undertaken in partnership with Bake With Yen (BWY), Malaysia’s largest baking-supplies retailer with over three decades of industry experience serving the food and hospitality sector nationwide. The collaboration enables the brand to establish a strong and scalable presence in the Malaysian market.
“Subang SkyPark presented a timely opportunity for Encik Tan to enter the Malaysian market – from the heart of Singapore to the heart of Kuala Lumpur – bringing heritage hawker flavours loved by the masses that is honest, nostalgic and full of comfort,” said Mr Tan Kim Siong, Founder and Managing Director of Fei Siong Group. “This opening kickstarts our regional expansion into Malaysia, with further outlets planned across key cities including Johor and Kuala Lumpur, in line with the Group’s broader long-term expansion ambitions.”
Looking ahead, the brand continues to work towards its long-term target of scaling across Southeast Asia, with future plans to enter markets such as Australia and the United Kingdom, alongside exploring ready-to-eat product formats.
Familiar Chinese Hawker Favourites, Made Accessible
At the heart of Encik Tan is a menu of recognisable Chinese hawker dishes, which includes a selection of signature items such as its popular Chicken Cutlet Curry Rice (RM15) — a hearty, crowd-favourite dish known for its crispy cutlet and rich, flavourful curry gravy.
Customers can also look forward to other staples such as Fishball Noodles (RM13), Prawn Hokkien Mee (RM18), Claypot Chicken Rice (RM18) and Signature Noodles (RM20) alongside a range of everyday favourites inspired by well-known hawker classics.
Since its establishment in 2014, Encik Tan has built a strong following for its hawker offerings, with signature items such as its Fishball Noodles recording over 10 million bowls sold, alongside more than 1.5 million plates of its popular Chicken Cutlet Curry Rice. These milestones underscore the brand’s appeal as a reliable go-to for familiar, satisfying meals.
Anime and J-Pop fans in Malaysia, here’s an upcoming concert that you won’t want to miss! After a successful debut in 2025, CENTRAL FEST is returning to Kuala Lumpur for another amazing show with an exciting line-up of acts!
The CENTRAL MUSIC & ENTERTAINMENT FESTIVAL, a.k.a CENTRAL FEST, recently announced its 2026 edition, with shows in Taipei and Kuala Lumpur happening this August. The KL show will take place on 1st August 2026 (Saturday) at Zepp Kuala Lumpur. This year, J-Rock band KANA-BOON and singer-songwriter Tatsuya Kitani will take the stage, alongside more acts.
SOURCE: CENTRAL FEST
SOURCE: CENTRAL FEST
This upcoming concert marks the second CENTRAL FEST in Malaysia, after its inaugural show in 2025. Tatsuya Kitani will once again return as one of the performers. Meanwhile, KANA-BOON will make their first appearance in KL. According to the official CENTRAL FEST website, the KL show will feature more performers, with the full line-up announcement coming up on 20th May 2026 (Wednesday). Here’s what we know about the concert so far:
CENTRAL FEST 2026 in Kuala Lumpur
Date: 1st August 2026 (Saturday)
Time: TBA
Venue: Zepp Kuala Lumpur
Line-up: KANA-BOON, Tatsuya Kitani and more
Ticket Prices: TBA
General Ticket Sale: Starts 25th May 2026 (Monday), via Fantopia.io
Stay tuned to this space for more details on the concert, including the full line-up and ticket prices. Are you ready for another memorable night of music with some of Japan’s biggest acts?
Prime Minister Datuk Seri Anwar Ibrahim has announced that the government is looking into the best mechanism in regards to revising petrol subsidies for high-income groups.
He explained that this proposal is being discussed by several ministries and relevant committees, though they have yet to finalise whether the revision will involve the T20 community, the T15 community or those in other categories.
Ministry of Finance
“The proposal has been studied for 3 weeks to a month or so, but it has not been confirmed whether it will be for the T20 (community) or the T15 (community), so as not to burden the upper middle class, and then it will be easy to implement,” he said.
Anwar, who is also the Finance Minister, added that the proposal will be finalised in the near future.
Securing domestic supply
This plan is expected to focus on efforts to ensure that domestic oil supplies remain sufficient to support the country’s economic activities, after the government had previously guaranteed that the current supply would last until June.
